阐释与误解:当代中国的黑格尔美学

Interpretation and Misunderstanding: Hegel Aesthetics in Contemporary China

20世纪50—70年代黑格尔《美学》在中国翻译出版,黑格尔美学的中国阐释模式随之建立,与中国当代美学理论的孕育和诞生大致同步,并在研究方法、研究范围、理论体系等方面给后者以深刻影响。国内学界既有的阐释模式主要是把黑格尔理解为西方古典美学的集大成者,较多地关注黑格尔的思辨方法、美的艺术哲学、艺术发展史等方面的内容。黑格尔对比较美学的早期探索、对现当代先锋艺术的准确预见、对摹仿说和教训说的否定、对移情说的启迪等作为西方现当代美学重要先驱者的方面,我们较为忽略。对黑格尔的自然人化论等观点我们也存在误解。如果说对黑格尔美学业已定型化的理解,曾经是20世纪中后期催生中国当代美学理论孕育和诞生不可或缺的重要催化剂,那么推动新世纪黑格尔美学阐释模式的转型,对于中国当代美学的重构同样具有重要学术价值。

From the 1950 s to the 1970 s, when Hegel’s Aesthetics was translated and published in China, the Chinese hermeneutic model of Hegel’s aesthetics was established. In about the same period, contemporary Chinese aesthetical theory was gestated and born, and it has been deeply influenced by Hegel’s aesthetics. Under the existing hermeneutic model in Chinese academia, Hegel is mainly regarded as the scholar epitomizing Western classical aesthetics. We focus on Hegel’s speculative method, fine art philosophy, art history, empathy of natural beauty and so on. However, we have neglected Hegel’s early exploration of comparative aesthetics as an important pioneer of modern western aesthetics, such as the accurate foresight of modern avant-garde art, the negation of imitation theory and instruction theory, and the ideal determinacy of natural beauty. We also misunderstand Hegel’s view of humanized nature. The formalized understanding of Hegel’s aesthetics was once an indispensable catalyst for the gestation and the birth of contemporary Chinese aesthetic theory in the mid-to-late 20 th century. The transformation of Hegel’s aesthetic hermeneutic model is significant for the development of Chinese aesthetic theory in the new century.